Journal of Researches in Islamic Architecture

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Nowadays Islamic countries more than ever concentrate on identity to revive their dignity at the age of globalization. Countries of west of Asia especially Persian Gulf countries enjoy a prosperous architectural era because of oil well revenues. Saudi Arabia from among them selected purposely to analyses to understand interaction of localization and globalization in contemporary architecture of developing countries. Saudi Arabia as the birthplace of Islam with the growing economy in recent years, is a good context for massive constructions, which result in identity crisis in contemporary architecture. Economic growth during last 40 years in these countries has affected various aspects of their lives. Undoubtedly architecture and urbanism as one of the main substrates were affected by these developments. Limitation of construction technology and engineers’ abilities in these countries made the Arabs to assign the designing and construction phase of their huge projects to European and American architects and engineers with completely different background and cultural beliefs from Muslims’. Although some researches have focused on identity crisis in modern architecture, very few researches have noted the interaction and conflict between the Islamic identity and contemporary architecture. The main objective of this research is to identify and analyze the native and Islamic identity in contemporary architecture of Saudi Arabia. The main research questions are: 1- What are the main current trends in contemporary architecture of Saudi Arabia? And how they have noted the concept of identity in their works? What is the relationship between theory (what the architects have in their minds or the goal they are following to reach an ideal design) and practice (what is observed in final result or understood by people) in contemporary architecture of Saudi Arabia? According to the theoretical framework, current buildings in Saudi Arabia are analyzed based on five general parameters and factors: 1-Main idea forming the design (concept), 2-The Construction Technology, 3- The material in the unit, 4- The shape and form of the unit, 5- the relationship with the surrounding environment. This article analyzed the buildings of the past two decades impartially in terms of the referred parameters. This research consists of two main parts. In the first part the architect’s opinion about his/her design was discussed. In the second part researchers analyzed the mentioned works according to the theoretical framework. The comparative analysis of the architect's comments about his work and researchers’ inferences can determine the distance between theory and practice of contemporary architecture in Saudi Arabia, then the architect’s success in achieving his/her objectives will be determined. This comparison will indicate whether the architects have succeeded in conveying their ideas to people or not. To meet scheduled objectives, fifty artworks were selected randomly from among the buildings designed in the past two decades, and were analyzed according to the main parameters. Then the quantitative data were transferred to SPSS22 software to determine the correlation between these two groups. Studies conducted indicate that a considerable proportion of contemporary architecture in the Kingdom of Saudi Arabia are design by foreign architects who are not familiar enough with Islam as the official religion of the country. We can see some puzzlement in contemporary architecture due to the diversity of forms and concepts. The architects’ description about their own works indicated that the main trends of contemporary architecture are in the use of postmodern forms, conceptualism, prevalent structures and modern materials. The findings indicate what architects statements and opinions expressed in the form of Islamic revival, is leading to imitate the famous forms of ancient architecture in practice. In fact, imitation of ancient forms and reconstruction of them by modern technologies means the expression of Islamic and native identity in contemporary architecture to most of the foreign architects. This leads to a contradiction between the theory and practice in contemporary works, although the construction quality of the analyzed samples is remarkable. To solve these problems it is essential to assign projects to vernacular architects and engineers where possible. Native architects with Islamic culture and beliefs will be more capable than foreign ones in expression and manifestation of Islamic identity in their works. On the other hand foreign architects should change their strategies in dealing with problems. Avoiding imitation of old patterns, getting more information about theories, Islamic culture, main needs and aspirations of Muslims are some of these strategies helping the architects to deal with the referred problems. These challenges make some serious threats and challenged contemporary architecture of developing countries. The results of the paper show that new architectural technologies and revivalist trends are the most important players in contemporary architecture of developing countries such as Saudi Arabia and other Persian Gulf countries because of their richness in cultural heritage, spiritual findings and local identity.

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In the Islamic architecture of Iran, meaning, aesthetics, shape and structure are four fundamental factors by an appropriate combination of them a traditional architect is able to manifest an image of metaphysical world on material world. A rational and integrated relation of these factors has put the Islamic architecture of Iran in an outstanding position. An important challenge of the modern architecture is the lack of an intergrated relation among its constituting factors. The main cause of this shortcoming is moving away from traditional roots and doctorines that has lead to the disintegration of defferent phases of design process and construction, changing architects education, and fast construction. In order to disclose the relation between metaphysical factors (meaning and aesthetics) and physical factors (function, form, geometry and structure) in architecture, it is first necessary to analyse cases that contain the relation in an outstanding way. For this reason, a number of majestic historical mosques, in which the manifestation of meaning in their form has been proved, have been studied. Literature on meaning, aesthetics, geometry and structure has been reviewed. Utilisation of the four factors in historical buildings of Iran has been explained. Relation among interfering factors in design process has been illustrated in the buildings. An algorithm for architectural design process in the modern world has been proposed in which the positions of the four factors have been defined.

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One of the issues in theory field of architecture especially in Islamic architecture which has been considered in academic assemblies in recent decades is the field of symbolism and its different approaches. Basically symbolism is one of the important features of Islamic architecture, to the extent that some scholars in Islamic architecture believe that symbolism is necessary to fulfill this kind of architecture. This article deals with the problem of what is symbol and generally sign in Islamic architecture and consequently, how the symbolism can be implemented in Islamic architecture. The purpose of this article is explaining different approaches that Muslim architects used for symbolism in their works meanwhile with explaining the nature and characteristics of each of these approaches, lessons would be learned for future symbolism in Islamic architecture. To illustrate the problem of this article, a hybrid method consisting of logical-argumentation research and qualitative content analysis research is used meanwhile the method for gathering data in this research is documents studies. The theoretical foundation of this research is based on Islamic wisdom so the research results have enough competence for the application in Islamic architecture. According to these results, in addition to credit architectural landmarks, there are genetic signs which can be manifested in various architectural components such as geometry and form and symbolism in Islamic architecture requires attention to both these two types of signs. Using these two types of signs, two main approaches are available for symbolism in Islamic architecture which is inductive and deductive symbolism. The first approach is based on sensory tools while the second one is often based on rational and intuitive tools. In this paper, meanwhile these approaches are explained, several examples will be presented for each of them.

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Indigenous architectural masterpieces have broad dimensions that can be studied in different areas of focus and identified with their original patterns to transfer a new framework based on fundamental principles concerning the particular time and place. Architecture of each territory is the outcome of the beliefs, culture, climate, industry and the ways in which the land is built. Therefore, architecture is considered as the mirror to represent the interests, resources, knowledge and ability of its creators. An architectural work consists of forms and shapes in spatial framework the open and closed spaces and openings Shows, empty and full volumes and physical characteristics, hierarchies and measures. The color due to the extent of its role with psychological effects in social beliefs holds a special place playing an important role in the projection of an architectural expression. In the analysis of the different layers of the architectural works and the style of each architect, color has an important stance .The factor that relates architects` thoughts and emotions, on one hand and themes, theoretical principles and the cultural and social structures of the building, on the other hand. Therefore, investigating the type of color and its application in traditional architecture opens a window to recognize some of the features of this unique style of architecture and the artistic and architectural ideas, attitudes and abilities represented in the context. Although many articles and books have been edited and compiled on architectural history, building analysis, and stylistics amidst which there is a minor issue considering the color, in general, or the colors of the buildings, there is felt to be a great need to specialized researchers about painting and architecture in ecological aspects and its cultural roots in the historical civilizations. Color in architectural studies of West has been focused from psychological dimension since Bauhaus period, but in the social and ecological aspects, the most recent researches have been done on archetypes and indigenous and religious attitudes mixed with architecture. This research aims to identify and review the physical and emotional aspects of applying blue color in architectural practices of Uraman. Architecture in Kurdish territory has remained mysterious and full of legends so far in many ways, although its physical structure, more or less, has been paid attention to by many researchers but it cannot be said that researchers have been able to analyze its origin, particularly in semantic dimensions that require in-depth review. According to Uraman area, the research population is geographically widespread but considered proportional to the number of numbers required to include all aspects in order to achieve the validity. Therefore, five regions of Kamaleh, Uraman takht, palangan, naravi and hiravi were selected with suitable scattering. Among 40 aged people residing in these areas (55 to 90 years), questionnaires were filled in the form of interview. In addition in the initial evaluation and field studies, the presence of blue in the arrays, the window and Folk Literature endorses the need for research in this field. Although the present research is an effort to explore the beauty formation in the architecture based on the local culture and try to represent it in contemporary architecture, also to a large extent, it is located in the field of the fundamental studies. In this study, the influence of beliefs, geography, climate, literature and aesthetics as the independent variables on how and why to apply the paint and color in a traditional residential architecture, as the dependent variable is the focus of this paper. This research is descriptive and analytical. Part of the data has been collected through library research methods. Analysis and discussion have been on the psychology of color and hidden identity, the impact of lifestyle, climate and geography of the aesthetic and consequently, the selection of a specific color, covered in native tissue architecture and window applications. The other part of the data were collected through the field studies with architectural texture of the substrate, the distribution of questionnaires and interviews with older people of Uraman so that the obvious evidence of blue color application for residential windows becomes clear. Perhaps, what comes to mind in the first confrontation with mountain architecture is the minimal space of construction for a simple life. But in the deep investigations and comprehensive surveys, we find a collective power which analyzes the application of color in the windows from different angles and chooses the best one. Regarding the specific representation of color in architectural quality and anatomical texture, some researchers have had brief hints to color without any specific and coherent view to the issue in Uraman architecture. These points are one-dimensional and generalized. Ignoring the psychological, and belief effects and the fashion have not been mentioned with aesthetic or natural philosophy tendency. In the initial surveys and library studies, with the quality nature of the issue, there can be different views which are based on the hypotheses each research considers. But in this study, in order to obtain conclusive results and minimize the effect of researcher, by completing the questionnaire through interview and discussion with the audience of this architecture (target population), we tried to make research results clear free from vision of researchers based the current situation .Finally, according to field studies and interviews with older residents in Uraman (from the master carpenter, builders and ordinary people), opinions of scientists and psychologists and researchers in the field of architecture of Uraman, we can get the reason for the widespread application of blue in native architecture of Uraman homes to be expressed in this way that by accepting the dramatic role of geography, natural, climate and people in the unconscious memory formation followed by an indirect effect on aesthetics, it is the most important role in the widespread application of the blue traditional residential buildings of Uraman. Since each color finds value and the effect on the proximity of other colors combination of sharp blue in low area with great surface of light brown of walls brings about a beautiful color contrast. In addition, these colors also add to the comfort. Finally, the sacred hypothesis or removal of an eye sore has no originality in research findings and this view is no longer valuable in this field.

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Nowadays Islamic countries more than ever concentrate on identity to revive their dignity at the age of globalization. Countries of west of Asia especially Persian Gulf countries enjoy a prosperous architectural era because of oil well revenues. Saudi Arabia from among them selected purposely to analyses to understand interaction of localization and globalization in contemporary architecture of developing countries. Saudi Arabia as the birthplace of Islam with the growing economy in recent years, is a good context for massive constructions, which result in identity crisis in contemporary architecture. Economic growth during last 40 years in these countries has affected various aspects of their lives. Undoubtedly architecture and urbanism as one of the main substrates were affected by these developments. Limitation of construction technology and engineers’ abilities in these countries made the Arabs to assign the designing and construction phase of their huge projects to European and American architects and engineers with completely different background and cultural beliefs from Muslims’. Although some researches have focused on identity crisis in modern architecture, very few researches have noted the interaction and conflict between the Islamic identity and contemporary architecture. The main objective of this research is to identify and analyze the native and Islamic identity in contemporary architecture of Saudi Arabia. The main research questions are: 1- What are the main current trends in contemporary architecture of Saudi Arabia? And how they have noted the concept of identity in their works? What is the relationship between theory (what the architects have in their minds or the goal they are following to reach an ideal design) and practice (what is observed in final result or understood by people) in contemporary architecture of Saudi Arabia? According to the theoretical framework, current buildings in Saudi Arabia are analyzed based on five general parameters and factors: 1-Main idea forming the design (concept), 2-The Construction Technology, 3- The material in the unit, 4- The shape and form of the unit, 5- the relationship with the surrounding environment. This article analyzed the buildings of the past two decades impartially in terms of the referred parameters. This research consists of two main parts. In the first part the architect’s opinion about his/her design was discussed. In the second part researchers analyzed the mentioned works according to the theoretical framework. The comparative analysis of the architect's comments about his work and researchers’ inferences can determine the distance between theory and practice of contemporary architecture in Saudi Arabia, then the architect’s success in achieving his/her objectives will be determined. This comparison will indicate whether the architects have succeeded in conveying their ideas to people or not. To meet scheduled objectives, fifty artworks were selected randomly from among the buildings designed in the past two decades, and were analyzed according to the main parameters. Then the quantitative data were transferred to SPSS22 software to determine the correlation between these two groups. Studies conducted indicate that a considerable proportion of contemporary architecture in the Kingdom of Saudi Arabia are design by foreign architects who are not familiar enough with Islam as the official religion of the country. We can see some puzzlement in contemporary architecture due to the diversity of forms and concepts. The architects’ description about their own works indicated that the main trends of contemporary architecture are in the use of postmodern forms, conceptualism, prevalent structures and modern materials. The findings indicate what architects statements and opinions expressed in the form of Islamic revival, is leading to imitate the famous forms of ancient architecture in practice. In fact, imitation of ancient forms and reconstruction of them by modern technologies means the expression of Islamic and native identity in contemporary architecture to most of the foreign architects. This leads to a contradiction between the theory and practice in contemporary works, although the construction quality of the analyzed samples is remarkable. To solve these problems it is essential to assign projects to vernacular architects and engineers where possible. Native architects with Islamic culture and beliefs will be more capable than foreign ones in expression and manifestation of Islamic identity in their works. On the other hand foreign architects should change their strategies in dealing with problems. Avoiding imitation of old patterns, getting more information about theories, Islamic culture, main needs and aspirations of Muslims are some of these strategies helping the architects to deal with the referred problems. These challenges make some serious threats and challenged contemporary architecture of developing countries. The results of the paper show that new architectural technologies and revivalist trends are the most important players in contemporary architecture of developing countries such as Saudi Arabia and other Persian Gulf countries because of their richness in cultural heritage, spiritual findings and local identity.

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Despite rapid quantitative growth in recent years, little attention has been paid to the quality of learning environments in contemporary universities. With the rapid increase in the capacity of universities and establishing new academic units and courses, growth in physical spaces in universities and higher educational institutions has accelerated considerably in recent years. Quantitatively oriented perspective to the issue of education has led the learning to be limited to the classrooms learning environment merely and therefore growth and improvement in universities only be done in a course of study for students. Lack of attention to the psychological needs of human beings and one-sided approach to the issues of education (apart from nurturing) are weaknesses of the current educational program which have affected the contemporary collegiate architecture as well. Developing and shaping of contemporary environment of universities have been suddenly and quickly, that caused poor quality of the current spaces. These factors include: 1. Inappropriate sites outside the cities or vicinities to provide the basic needs which impose additional costs 2. Formation of more than 40 percent of universities without Primary comprehensive plan 3. Purely quantitative perspective to the development of educational spaces 4. Shortage of welfare as a result of unforeseen developments 5. The high level of occupation and appliance at universities the major cities 6. Lack of attention to campuses in many universities Based on the principles of environmental psychology, structure, shape, form, color and specification of the environment effect on behavior, learning, social interaction and communication. Accordingly, respecting the proposed theories about human psychological needs of physical needs to needs of growth and self-actualization, by studying the physical spaces of the traditional Islamic schools of architecture as fulfilling the psychological needs in all aspects, could be reach the principles and models of the design physical spaces in contemporary university education. This article is to scrutinize the physical characteristics of Iranian Islamic architecture and specifically the traditional schools architecture such as Chahar Bagh and Agha Bozorg, which their architectural formation were based on Islamic perspective, to detect principles and components that is confirmed by Islamic monotheistic viewpoints and the theories of environmental psychology as well. This paper benefited from logical conclusion by interpreting and analyzing the structure of individual spaces, their spatial hierarchy and ultimately analyzing the whole of architecture of these schools, to detect the ideas and strategies employed to meet the psychological needs of human, to be able to extract contemporary design strategies for the spaces of university campuses such as training classes, public places, privacy and relationship with nature. All these principles could be exploited to contribute towards improving the overall sense of place and achieve more concurrence in the education, training and nurturing of students. In traditional educational system unlike the current system, there was no separate between in education and other aspects of student life and what the student had been learning was following the same lifestyle. Framework of traditional schools had been providing space for this attitude. All of these schools, such as Chahar Bagh of Esfahan, Ghiyathiyeh Khar Gerd Khaf, Motahari School (Sepahsalar) and etc., had been included of rooms for all students. Student’s living spaces were located at all four sides of the courtyard. Identifying and analyzing the spaces composition, as well as tiny spaces of Islamic traditional schools could find the principles of wisdom. The results indicate that: 1. Composition and harmony between the life spaces, worship and education spaces had been for development and improvement in all aspects of life. 2. Being together living, educational and converge spaces, had been providing the need to housing and shelter and had been creating a peaceful and secure environment. This could not be seen in the current universities. 3. Existence of hierarchy of spatial 1) central courtyard 2) semiprivate porch and 3) private rooms, have created feature interactions at different levels and degrees. The central courtyard has been the common factor of linking. The common factor and spatial hierarchy in the current residents of universities are not seen as a particular form. 4. Form and layout of classroom rings while creating a strong relationship between teacher and students have been created the participation. While in existing classrooms is one-sided relationship. 5. Coordinating components of traditional schools have created sense of balance, continuities, purpose, legible and transparency. While in the majority of contemporary spaces of universities, distribution of forms and colors and etc. has created Illegible or even a stressful environment. 6. Inverted form of traditional schools operates in order to increase concentration of mind and separation of interests outside of school. 7. The strong geometric plan of central courtyard and green spaces, have been acting as the driver's mind to thinking. While in the contemporary college campus, green space, is filling the empty areas. 8. By giving rooms to students in the educational environment created a sense of competence, self-esteem, consequently the environment and responsibility for their learning environment. 9. Semiprivate porch space in traditional schools have played role of debate and free discussion space, which have caused the development and promotion of students ultimately. It is while in the current hostels there are no such spaces.

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Designing a muslim man’s house should be the outcome of Islamic values and beliefs of its inhabitants. Islam is a comprehensive religion that can provide a set of basic principles as a guide and framework for housing design. According to the country's macro policies on the revival of Islamic Iranian architecture, it seems necessary to pay attention to the housing design principles of Islam and realization of these principles in past and present time. Since Islam is not limited to a specific age and place and can meet the needs of human being in different periods, the compatibility of universal teachings with Islamic principles must be considered. According to the verses and narratives mentioned in the Islamic sources, housing and residential spaces should have two main types of characteristics. The first type is negative characteristics that need to be removed and second type is positive characteristics that are visible to recommended. Consideration of these principles can determine the design of a Muslim’s house. Due to the interdisciplinary nature of the research, some of the most important principles of housing design were extracted from the religion references at first. Then the similar principles in other cultures of the world (such as theories of Alexander (1977), Scruton (1995), Pallasmaa (2006) and Marcus (2001)) were evaluated by using comparative-historical method. Finally observance or non-observance of these principles in the past and today houses is discussed in order to achieve alive and dynamic principles of house design in contemporary world. The purpose of the research is to present the basic principles and design suggestions in order to improve housing conditions by using the resources of religion (primarily the Holy Quran and the authentic narrations) and evaluate contemporary theories and residential buildings based on these principles. In the field of housing, Islam suggests residents’ privacy, limitation, hospitality, avoiding luxury, balance of home size, height and decorations. These principles were respected in most of iranian traditional homes and in few cases inconsistencies are observed. For example the principle of “balancing the height of interior spaces of the house” is not respected in some traditional houses such as “Zinat al-Molk house” or “Narenjestan-e Qavam”. Unfortunately, a lot of these principles are not respected in designing common types of modern apartment houses. For example, small size of the house and not separation of public and private space will cause family problems and destroy moral values of the family. On the other hand, in some residential complexes, some factors such as building height, and using extra decorations, as well as the use of luxury materials of façade induce show-off which is against Islamic rules. Many of the Islamic teachings have been emphasized in other cultures of the world and also the views of theorists however some cases can be seen different. Therefore, it is necessary to be careful in emulating the universal examples. The importance of this research is finding appropriate and inappropriate global patterns and theories based on Islamic principles So that a muslim could take advantage of the principles of Islam and its physical reflection in housing design. - In the principle of visual prohibition that most traditional houses regarded, the teachings of Alexander in the patterns 115, 140 and 164 differ with Islamic teachings. He recommends enclosed courtyards and terraces overlooking the street. - The principle of avoiding physical individuality of house that Pallasmaa and Scruton also have emphasized in the field of housing, is contravened by some architects like Eisenman and Gehry. These architects usually use unconventional forms and facades. - About balancing the height of interior spaces of the house, theorists haven’t particular opinion. However architects such as Le Corbusier pay attention to this in some of his designs. - In the field of home decoration, Islam recommends rules in two aspects: Recommend adornment and renounce luxury. Alexander (in the pattern 249) and Venturi confirmed these teachings. But some modern architects such as Adolf Loos and Le Corbusier offer contradictory ones and prohibit any decoration in designing. Balance in decoration is obvious in the designs of some architects such as Wright and Ando, however it is ignored in some houses such as Gaudi’s design which is full of additional elements. - The principle of privacy is confirmed by most of the world cultures and theorists such as Alexander (in the pattern 127, 130, 79, 136) although in some few cases such as Johnson Glass House ignored. - The principles of hospitality and size balance which are always emphasized by Islamic and Iranian traditions, are neglected in other cultures and universal teachings and also contemporary apartment houses. Results show that the principles of Islamic architecture such as privacy and limitation, hospitality, balance of home area and its decoration is mainly observed in traditional Iranian houses. Although many of these principles are approved by global theorists and architects in designing homes, in some contemporary cases, failure to comply with Islamic teachings is visible. So it is necessary for us to be cautious about simulation these samples.

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Morality is one of the valuable things which has been considered in Islamic society. All thinkers of morality notional scope have tried to invite people to a good life by preparing them with cases such as contentment, forgiveness, true worshiping, pure life and earning kosher money. Islamic morality is a set of all headings correlated to morality specially morality science which is related to Islamic world and culture. Morality has a good adjacent with values and is divided into adaptive morality. Notional morality and practical morality and these items can be the origin of issuance of bad or good actions. Islam always recommends Islamic society to learn and rely on new science and technologies albeit in foreign and non-Islamic countries, and takes this as a honorable and devotional act, so there is no difference between Islamic root and science and technological development, but beside recommending knowledge avocation, Islam stresses on this point that the purpose of science and technology should be in direction of serving Islam root, this issue causes technology to be consistent in a contriving way with, cultural elements such as beliefs and thoughts, social values, social norms and provisions, symbols and ideologies, so that the performance of this technology be a desirable one. Architecture is an era for out breaking individual, social life and normative aspects like morality. This issue causes affective factors in architecture with special features grow in its framework and meaning. Considering moral norms of society and the human is one of basic requirements in shaping human s work place and life. So the relation between architecture morality and social norms is satisfying the needs of the human, so that he can find comfort in the architecture space. During history architects have tried to match their architecture with moral norms with understanding these needs, but the arrival of new technological alongside identification issues and originality crisis, has affected on moral components in architecture and has created new challenges between morality architecture and technology. The problem of the present paper is that: what is the relation between morality and technology in architecture? And our purpose is finding moral concept and social norms of morality in technology transferring process in terms of today technology when technology and architecture be synchronized, the effect of this problem that is technological architecture, would be inappreciable with regarding moral and normative criteria, but if technology won't be synchronized with architecture then they would be against each other and it will transform to “architecture technology“ phenomenon in which technology will become all forms of architecture and then necessary condition for shaping architecture would be technology. So architecture is always affected by technology, whether to promote architecture of spatial and semantic features to weaken them and to show the dominance of technology on architecture and the human. The purpose of this paper is not the deny technology acquisition from non-Islamic societies because technology is important in any society and if this technology would not be with awareness, this technology can destroy the remained morality. Technology makes a society develop in different dimensions and morality which is intrinsic should grasp as important concept in this time and this development matches morality development but with converse face which in a short time it will be with disappearing morality. Technology and development especially constant and development is a complex process. The technology procedure type is related to collaboration and public trust of all people of a society regarding to moral balance and other social norms of that society. If people want to use and develop technology without destroying morality and its concepts in today society, they should bring human values such as trust, humanitarianism and love in their lives and works. The results of the research shows that for reaching a proper pattern of current architecture in an Islamic society, some criteria for using architectural technology should be considered which the most important of them is to consider morality component I terms of using technology in architecture. Morality components in architecture include: - Continuous afford to promote moral and noumenon dimension in architecture and inside an architect. - Self–knowing and the other knowing in response to people's needs. - Continuous afford in self –construction and adjustment of job affairs. Continuous afford for effective presence of Islamic religion and morality in all dimension of works and jobs. - Re-knowing, preservation and adjustment of norm manners and society in light of Islamic standard. - Re-knowing Islamic culture and civilization and growing it to create architectural space regarding to current and future needs of society. - Afford to promote common human Islamic -Iranian dimensions which identity category would be grown by it. Observance these elements by architect alongside harmonizing technology with these elements, would create a result proportional to social morality, culture and norms.so it can be said that architecture is as a result of Islamic moral elements and updated with modern technology.

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In current time, modern architecture design opinion along with new generation of academic graduated architects has great influence on new buildings, such as mosques design. One of the most important effects is the distortion of shapes and space, which is headlined as new design view of mosque in architecture and society. Unlike the past which mosque buildings were followed by special tradition style in each era, there is much diversity of types and design methods, which it cannot be classify in tradition or any specific category by shape and form. In addition of extreme evolution on design and built process of contemporary buildings, this article is trying to have a specific overview in the orientation of mosque designing. Then classifying the indexes of this development with identification and on the other hand notifies the effective courses on mosque architecture process. Research questions are: can we suggest any features of Iranian current mosque design comparing to Islamic world design? What standards can we consider? What is the design style of contemporary mosques? And what is the specification of each? Many researchers have proposed approaches for classifying the effective streams on contemporary architecture of Islamic countries, particularly the modernist mosques. These approaches investigate the recognition of the principles of design, favorite variables of architects, and also their work product as architecture body. Each of these researches, in turn, has suggested different categories or for modernist mosques. For example, "Ismail Serage-aldin" in his article titled "classification of effective approaches in contemporary architecture of Islamic countries", divided this approach into five groups of popular approach, traditionalist approach, people-oriented approach, adaptable modernism approach, and modernist approach. These approaches have an effective role in different streams of architecture design in contemporary era, particularly in the designing of mosques. This article is aimed to recognize trends of designing mosques in contemporary era specifically and by identifying indicators of these changes classifies them and recognizes effective streams on the evolution era in the architecture of mosques. Therefore, after reviewing performed classifications, the desired attitudes for investigating works are introduced and tables are prepared for each of these works that have been analyzed in those works based on defined attitudes, and then by comparing tables an attempt is done in classification of works based on common characteristics in the table. At the end, those attitudes that have affected contemporary mosques are introduced as a group of indicators. For better recognition, some examples of these groups in Iran and the other countries will be introduced. The questions that have been asked in this research are: Can attitudes be introduced in designing Iranian contemporary mosques in comparison with Islam world? What criteria can be considered for this issue? What orientation do exist in designing contemporary mosques? And what are the characteristics of each of them? At first, the research process has been formed based on quantitative variables that have had a key role in recognizing mosques as modernist mosques. These variables are volume versus space, full and empty, physical development, plan pattern, facade, the average ceiling height, decorations, form, color, position, construction location and its time and then categorizing the amounts of variables has converted them to qualitative data and make it possible to divide them to some groups based on a integrated structure that in every group part of amounts are in similarity or proportionality with each other. Therefore, three groups of tables were prepared from characteristics of mosques during research. In first group, the table introduces the status of each variable in mosques second group separates the mosques with common characteristics and the last group introduces their properties. This classification that has been obtained from investigating 50 modernist mosques can indicate shape-physical approach in typology of modernist mosques in Islam world. Based on conducted investigation, a part of contemporary mosques that a typology was done about them are mosques that are outstanding in Islamic society or have introduced the meaning of mosque in a new body from physical perspective. These mosques have been classified into four categories based on shape typology and these categories are: white modernist mosque, pure mosques, form-oriented mosques, and hybrid modernist mosques. In white modernist mosques, the volume is not important and often takes a form of project site. In pure mosques against traditional mosque building, the architect aims to create a symbolic volume. The volumes are simple and Platonic. Especially, the cubic shape that has a background in Islamic tradition is used. In form-oriented mosques, the attention to external volume is very important so that ignoring internal space is resulted. The volume of these mosques usually includes complicated and innovative forms and architectural sculpture and pure forms are not applied. Asymmetrical and simple decorations, use of color and light shadow diversity are usual in these mosques. Hybrid modernist mosques are a combination of the former types that means each of their elements follow one of types and cannot be placed in any former types. On the other hand, they are a hybrid of the former types.

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Covering one of the most important spaces, domes have a magnificent role in Persian mosques. During continuous eras of Islamic architecture masons could promote this techno-spiritual heritage and developed its spatial value. This process reached its apogee in Safavid era. Overshadowing Shia conceptual system carved the cultural context of Safavid society and consequently changed its architectural features. In this context, Safavid illustrious domes acquired modern roles and were dressed differently. In previous studies symbolic meanings of domes have been analyzed mostly in two major groups of “positivist-narrative” and “mystical-hermeneutic” approaches. The followers of traditionalism school by applying mystical-hermeneutic approach have suggested some general meanings for most of dome cases in the entire Islamic world. Manifestation of symbolic meanings such as heaven, paradise, sky and unity is proposed by these scholars. On the other hand, positivist art and architectural historians by utilizing a narrative approach has criticized the traditionalism school. They believe tying any meaning to a traditional architectural element requires achieving clear historical evidences that could be gathered through field studies. Meanwhile there are limited group of scholars that benefit from both hermeneutic and narrative methods. Although they accept the central concept of embodiment of Islamic meanings in the buildings, they provide historical subjective evidences for their arguments. This paper aims to investigate the meaning of Safavid domes by using “Narrative - Hermeneutic” approach. Appropriately, the hypothesis of embodiment of the meaning of a holy tree, called Tuba in Safavid illustrious domes is examined by means of two questions. The first question looks for the original meaning of Tuba in Safavid cultural context which has been studied in a separate paper. That paper indicates that the term Tuba is only mentioned once in the Quran, However its attributes can be ascertained from various hadiths and other relevant references. Additionally, in his The Red Intellect, Sohrevardi describes this tree. Accordingly, Tuba is a divine, tall, with a long shadow tree that is one of the blessings in heaven. The second question is concerned about Tuba’s probable relationships to illustrious Safavid domes. Consequently, to find out the answer characteristics of the two main domes in Madrese Chāhār-bāgh (Soltānī school) and Masjid-i Jamī Abbāsī (Shāh mosque) at Isfahan are analyzed in three spatial scales including the city, the building and the dome chamber. Accordingly, images of the domes in city sky line, dome’s silhouette and shape, outer and inner ornaments as well as the content of dome’s inscriptions are studied. In the urban scale, western traveler’s description as well as studying the city sky line represents a modern picture that forms in the Safavid capital. The picture that displays raised huge domes in the verdure background of the Isfahan as a garden city. In an architectural scale, the projected shape of the dome constructed on a tall drum represents the form of an abstract tree that dominates the mosque and the school and their surrounding area. This image can be better realized by looking to the decorative layer of two domes. Both cases are covered by lavish vegetal decorative patterns drawn on a turquoise background that encompasses the outer and inner shell of the dome. This layer dresses the abstract shape of domes and illustrates an objective tree free standing beyond the city skyline. Moreover, studying the buildings inscriptions may reflect the indicated concepts and intention of their builders and providers. Acordingly inscriptions of main spaces including the entrance (pishtaq), the foyer (hashti), Qibla ivan and minarets were survived. Almost all the inscriptions in both monuments reflect the three main concepts. Inscriptions in both monuments reflect the scientific superiority and spiritual grandeur of Imam Ali. Simultaneously in Madrese Chāhār-bāgh the value of knowledge and in Masjid-i Jamī Abbāsī the importance of congregational mosque are mentioned in different ways. More precisely investigation of dome chamber inscriptions reflects some indicated concepts. Unlikely to the most of dome chambers the applied inscriptions in both cases hardly contain Quranic verses. They mostly include those hadiths and quotes that clarify the role of Imam Ali as the first Imam and also successor and brother of the prophet. More importantly, the mihrab inscription at Madrese Chāhār-bāgh, as the focal element for meaning manifestation in dome chamber, represents the night journey and the ascension of Prophet Muhammad and describes his meeting with the holy tree of Tuba. Finally, qualitative analysis (comparing and content analysis) of the findings evaluated the paper’s hypothesis in three criteria of “logical consistency”, “truthfulness probability” and “completeness”. In the first criterion, the paper indicates on the logical consistency of this hypothesis. Paper findings in the second criterion demonstrate the truthfulness probability for embodiment of the meaning of Tuba. Eventually the last criterion suggests that provided evidences cannot support the completeness of the hypothesis. All in all, this paper suggests that core concept of Tuba tree as the most truthful explanation for the meaning of studies domes.

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The present paper is extracted from a purposeful research aiming at pondering on the recondite meaning of persistence in Iranian architecture during Islamic era and comparing it to the concept of sustainability and contemporary sustainable architecture. It seems that the literature is poor in terms of causes and factors of persistence in Iranian architecture. The limited literature in this area mostly includes descriptions of buildings and monuments of various periods of Iranian architecture. Due to closeness of the meanings of persistence and sustainability, no clear-cut border has been drawn between the two terms up to now. The present research aims at not only depicting the essential difference between the two terms of persistence and sustainability in Iranian Architecture, but also finding specifications and principles of persistent architecture and the factors affecting it. Therefore, this research is after finding the source and cause of persistence and perpetuity of Iranian architectural monuments inherited from old times. Iranian architecture has witness use of persistent patters that are being forgotten due to negligence on the part of contemporary Iranian architects as this valuable treasure and their passive acceptance of imported modern architecture. Nowadays, one of the most important issues attracting Iranian architects is the necessity of persistence in contemporary architecture and revival of Iranian architecture. The authors of this paper hold that analysis of persistent and timeless architectural works and monuments for finding their common geometric patterns can help achieving a solution for grafting persistence on to architectural works. These phenomena play a significant role in the society from both cultural-structural and pragmatic aspects. It is noteworthy to say that finding patterns in common in persistent works doesn’t mean merely copying them, but, giving them rebirth in the modern world with due regard to the needs of modern people as many of Iranian architectural works have structural-physical elements that were persistent at their own time but have lost their use today and they are only inheritance for the coming generations and they are no longer live in their use. What needed most in the present era is not blind copying of the features of Iranian architecture, but is pondering on Iranian architecture and attempting to modernize its features. In the present paper, first, the meanings of persistence and sustainability are presented and compared with each other and the viewpoints of scholars on persistence and sustainability are covered. The results of this research shows that living architecture is the cause of persistence and perpetuity of architecture in modern architecture as the case studies ChoghaZanbil Ziggurats, Naqsh -e- Jahan touristic - religious square, Tabriz Bazzar and Azadi Square can be mantioned. In terms of nature, this research is logical inference. Data was collected using library method and questionnaire techniques. The research questions included: What is the principal difference between persistence and sustainability? What is the most important factor in persistence? What are the effective features and factors in persistence architecture? The results of this research suggest that the most important difference between persistence architecture and sustainable architecture is the factor of meaning and spirituality. Furthermore, regarding to culture, and use of persistent archetypes and ability to absorb addressees are among other differences between persistent architecture and sustainable architecture. It is noteworthy that meaning in this research is a factor that inspires value in the setting, engraves memories in addressee’s minds, creates an identity in the space and place and the addressee understands that the interconnectedness of elements and formation of space are incarnations of the values and concepts of a community expressed in an architectural form. Persistence in architecture is a form of timeless state of living and dynamism that is persistent and lasting. Living means physique and sprit together, not only the physique should be live, but also it should be associated with soul. Persistence is held a kind of historical and cultural continuation in a living body. Living body means a connection between past, present and future that forms identity. What making Iranian architecture persistent is regard to spirituality and expression of the people’s beliefs and culture in architecture that develops in the addressee and becomes perpetual. Nowadays, meaning is lost in architecture, as architect instead of paying attention to God, the origin of eternity, and the original needs of human being, as the caliph of God on earth, and cultural patterns that can be expressed in today’s forms with a little modification, views man connected with technology, tools and facilities which are all transient and consumptive in other words, tools have replaced targets. Based on the results of this research, the major difference between persistent architecture and sustainable architecture is disregard to meaning and emergence of spirituality that maintains culture, identity and cultural capital in any community. The things that can be admitted as a base to rely and creat a new architecture.

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Iranian architecture follows various formal patterns, mostly had been worked in artistic pieces then worked to architectural structures. Deeply looking at motifs in artistic works and architectural plans, streaks of cosmological beliefs can be traced. Nonagon division of squares, "Chaharbagh" or "Chaharsofeh" plans can be among important ones. It seems that these patterns have been primarily used in the artistic motives such as pottery decorations before being evolved in the architectural forms. Nonagon division of square which was lately emerged in form of “nine-bay” plans can be found on the primitive motifs of Neolithic pottery decorations. Chaharbagh –four gardens- plan has been already illustrated on the Chalcolithic potteries which were found in Samarra before being used in landscape design of the historical era. However, proficiency of the Samarra potters in geometry and their awareness about the anatomy of some of the animals has been reflected in motives which were designed at the centre of the internal surface of the dishes. Some of these motives reminds the Chaharsofeh or four Ivan plans which is a typical design of the Iranian architecture in the later historical periods used in several palaces, caravanserais, schools and houses. The present paper attempts to investigate mostly known Chaharsofeh plan. Although there have been varieties of studies in Iranian architecture, but there is not appropriate research on Chaharsofeh plan that resulted to lack of sufficient knowledge on relevant typology. As a fundamental research, present study naturally can be counted a historic-descriptive investigation, where data collected bibliographically. Collections of evidence were comparatively studied, analyzed, and interpreted. Conclusions indicate that there were ancient cosmology in such design and architecture, except ecological considerations. From one hand, cosmological Tetragonal division of the world, and on the other hand ancient beliefs that resemble the earth as "Chahartagi" that tended to center despite of regarding cardinal orientations formed and flourished the design and similar ones. Studies on several valid historic texts indicate that "Chahartagh" label has been used for various monuments, however, it explain and describe an architecture embodiment, but as architectural pattern or a design label it never signal evidences. Chaharsofeh design is appropriately compatible to Iranian architecture and responded to varieties of functions, and at the same time, covered ecological and environmental requirements of architects. It is categorized within two groups first with yard and second without it. First group remained as "four porticos" design in characteristic standard from earlier formation to recent centuries. First samples of such designs were presented at Achamenid architecture at "Treasure' section of Persepolis and "No. 3 Building" at Dahaneh Qolaman. Later, it was worked at Parthian period at Assyria Palace with a vaulted type and at Sassanid period as well. During the Islamic period and specifically in 14th century, this plan was so common that a mosque could not be imagined otherwise. It was dominant model in numerous Iranian houses, caravanserais and schools in Iranian central plateau and introduced "Chaharsofeh Style" to Iranian architecture. Several schools and tombs somewhat followed the design. The other grope subdivided to two groups firstly, the general design multiply at number 5, while the other signals the structure embodiment in a nonagon division. Known domical structures generally related to first group. It was experienced firstly at formalities hall of Bishapur Palace, dated to earlier Sassanid times, and vastly was used at domical structures of later Islamic buildings of medieval periods. The second group is in difference with "introvert nonagon domes" pattern and multiplied at nine. It divided to two itself: some vary functionally with a focal dome and peripheral chambers and small Chaharsofehs, where from exterior there can be seen a small dome from each angle. Although designs on some Sassanid vessels confirm usage of the design in elite architecture of the period, the first examples of such designs come from Sassanid fire temples. It used at some mosques' plan, several baths, several pavilions and tombs in Islamic periods. Although, this architectural standard was developed in Sassanid period, glorious evolution of this architecture occurred in later Islamic period in a way that was never experienced before. Architects and designers of the Othmanid period, specifically “Senan” developed this style in the most magnificent way. Symbolic and advertising features of this architectural style of Othmanid period is significantly sensible in the mosques such as “Shahzadeh” and “Sultan Ahmad” and developed unique masterpieces in the introvert style. Examples of this style have been found with four domes at the four corners while the buildings structure has been divided into five sections. Symbolic examples of this type are the tombs of Samanid governors in Bukhara. At second group, nonagon type, there is relatively big Chaharsofeh with four vaulted chambers around central dome house. Several mountainous castles mountainous, plain and coastal Karvanisarais, and small road cafes also constructed on the design.

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Chahar-Baghis oneof the most famousstreetsof Isfahan and perhaps,Iran.Chahar-Bagh, as agreenstreet, had a certaingeometric pattern which included the rowsof trees, roads,sidewalks and central stream.Chahar-Bagh Street was actually a lineal urban space which stretched from the north to the south, towards Naghsh Jahan square (EmamSquare) as the central urban space of Esfahan and together managed to form and organize the structure of the new Safiavidpart of Isfahan beside the oldSeljuk part of Isfahan. Chahar-BaghStreet of Isfahancould not be considered as the first special green urban street,northe last one.Because it is known that during the early Safavid period, a type of Chahar-BaghStreetwas builtin the city of Qazvin and during late Safavid period, several Chahar-BaghStreets were organized in some cities such as Mashhad, Shiraz, Tabriz and Tehran.Chahar-Bagh Street along with the Naghsh-Jahan urban square was also repeatedafter Safavid time,as a new,valuable and static model for the urban design,in the design ofotherimportantcities.Chahar-Bagh was not onlya particularstreet, but also ageometricpattern garden design, or in other words, it is well-known as a comprehensivemodel or patternofPersian garden design. This pattern divides the garden site or ground in four parts and shapes a cross road between these parts, placing a pavilionin the middle of the cross road. There are very different and opposites viewpoints about the geometric pattern ofChahar-Bagh, such asi) Chahar- Baghpattern is thecomprehensive design of Persian Garden.ii) Chahar- Baghpattern is just one of the kinds of Persian Garden design.iii) Chahar- Baghpattern is just the same as thequartier shape of design.iv) Chahar- Bagh pattern is not due to four partial forms and it only contains the symbolic and memorial aspects of design. This paper will try to penetrate the literal origins of Chahar-Bagh word and discover the practicalmeaning of Chahar-Bagh during the studied centuries, therefore, this paper is specialized only on thelexicaland semantic aspects of Chahar-Bagh and it begins withthe following questions: 1) How deep is the meaning of Chahar-Baghin our culture? 2) What are the background and the function ofChahar-Bagh during our historical resources? This paper studies Chahar-Bagh by gathering thedescriptive dataintwo field of the meaning and function, on the basis of historical evidences.Then, organizes them in diagrams and presents research analysis based on the mentioned findings. The meaning of Chahar-Bagh includes outer and inneraspects and also createsa meaningful complexity.The inner meanings includes words such as: Chahar (four), Char (four),Bagh (garden),Pardis (paradise). The outer meanings includes three sections: Chahar-Bagh and the dictionary meanings,Chahar-Bagh and the symbolic and idealistic meanings, and finally,Chahar-Bagh and the practical meanings. The origin of Chahar-Bagh as a street form might refer to the city of Samarkand during the Timuridperiod. This city was built between Firoozi gate and Del-Gosha royal garden. The origin of Chahar-Bagh as a garden form, on the other hand,is addressed to the city of Pasargadae during the early Achaemenid time. Pasargadae included several complexes such as the fortress, the tomb of Cyrus the great, palaces and gardens and the fire temple.The historicalsourcesindicatethat the origin ofChahar-Baghword is related to Seljuk time and used in “Jame-ol-Tavarich” by “Khaje Rashid aldinFazlollahHamadani”. There were some places as Chahar-Baghbeforethe Safavid period and themostpracticalmeaning of ChaharBaghwas “the rulergarden”and also as a “citadel garden” and ‘the officialcenter”. There was also a new meaning extended for Chahar-Bagh during the Safavid time, at the time when Isfahan was chosen as the capital city of Iran. This meaning indicted Chahar-Bagh asan especial, green, urban street. According to historicalevidences,thestructurofChahar-Bagh hadanautogamy(private) aspect at first, butover time the public aspect was grownand the urbanaspectexpanded. The resources shows that thestructure also had an earthlyand terrestrial aspect and was changed into the heavenly and idealisticaspectduring the time. ChaharBaghwas neverasimple garden or anordinary ruler place or justasimple street, and thementioned meaning of Chahar-Bagh duringthe Safavid period is a strong evidence of this statement. AlthoughChahar-Baghcontains the literal meaning of “four gardens”,yet, Chahar-Bagh term meant a special,great, public,spiritual, celestial and heavenly place or garden.It is very surprisingthatjustoneword could indicate all meanings and functions in Persian architecture and all of the mentioned meanings could be compacted in one word. Perhapsitrepresentsthemagicaland mysticalPersian architectural secret, which is known as "unity”through“diversity".

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Seljuk period is one of the important periods of Islamic Art in Iran architecture. The Seljuk brickworks represent Iran architectural perfection in aspects of techniques and variety. The magnificence of Seljuk brickworks is not found in other later periods. Therefore, further investigation is needed due to the importance of this issue. In this research, literature reviews, field studies and survey is done by analytical- descriptive method. The aims of research are as followed introducing the important motifs of brickworks identify, variety of layout types, and the sustain modality of brickworks during the historical periods. According to the aims, all of Seljuk monuments in Iran which have brickwork decoration were detected and their brickwork decorations identified. The decorations which were unique at that time and were repeated, has been determined as index motifs. Afterward, these motifs and the techniques were found in Khwarezmid and Ilkhanid monuments and their changes or conversions to other decorations have been identified. Most of the architectural exterior surfaces are decorated by the brickwork in Seljuk period funerary monuments with polygonal plan have the most decorative surfaces such as Kharaghan tombs and minarets. In this period, the simplicity of minarets was changed to richest drawing and decorative forms such as Menar-e Ziar and Cheheldokhtaran. It is noteworthy that in addition to this, the monuments including the Robatsharaf Inn and Jame mosque of Golpayegan are decorated with verity brick motifs which combine with stucco reliefs. In general, decorative designs and prolific body of brickwork is one of the special features of Seljuk architecture. Various brick rows are used in the Seljuk monuments and they are categorized to Golchin, Jenaghi, Hasiri, Doraj, Kofi Magheli and Bannaie inscriptions. Golchin’s motifs have some “mother” patterns which are combined tomake various designs. Golchin motifs perform in tow groups “simple” and “compound”. Jenaghi brickwork, perhaps because of its easy performance,has usually been used in corner of the dome and arches. Also some different technique of brickworks such as “Khofteraste” (relieve motifs), Moshabak, Gerehbannaie perform in outer surfaces of Seljuk monuments. Khofteraste brickwork technique was used in high altitudesin order to relieve its motifs. Moshabak technique was used in doorway to pass light through andGerehbannaie generally was used for minaret decorations Selengeh, Chaharlengeh, Sheshvahasht are the prevalent motifs of Ghereh in Seljuk period. An innovative technique: combination of brick with different materials used in Seljuk period that followed in later periods. Hence, Seljuk monuments are decorated by different brickwork in motifs and techniques including the Golchin and Gereh. In addition, initiative techniques such as the incorporation of brick with tile (glazed brick) or stucco were created by artists as well as Kofie-bannaie. Accordingly, it is obvious that Seljuk brickwork decoration is the rising point of Persian brickworks. In Khwarezmid and Ilkhanid periods, brickwork decorations were not used as extent as before. In these periods, brickwork was replaced with stucco and tile. However, some of brickwork decorations such as Golchin, Doraj, Magheli and Bannaie inscriptions were followed by the next periods. Also, the Gereh motifs of Seljuk period became the source of compound decoration for the next time. In Khwarezmid period, molded bricks with relief motifs were developed. This kind of molded bricks in combination with glazed molded brick or the tile, which were pre-cut or insitu-cut, became very common throughout, Khwarezmid and Ilkhanid periods. In such way that incorporation of brick with tile included the hole of decorations during the following periods. Pre-cut brick and pre-cut tile techniques at the end of Seljuk period were used in GonbadKabud in Maragheh and it became the beginning point of this type of decorations in the following periods. The techniques of brick and tile combination so called-Moarraq (mosaic) exists in Khwarezmid monuments such as ForoumadJame mosque and Malekzozan. Also, some skillfully combination of brick and tile were used in two important Ilkhanid monuments including Gonbad-e Soltaniye and Bayazid-e Bastami treasury. It could be argued that combined decorations (combining brick with tile) belongs to the culmination of Ilkhanid decorations. Hence, variety of techniques and innovations that happened in the brickworks of Seljuk periods caused some changes in the decorations of the following periods. Gradually, new types of architectural decoration over the motif, function, and accomplishment were developed based on changes done during Seljuk period.

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Mosque, as one of the most prominent buildings of Islamic architecture has been influenced by constant subsystems and temporal as well as spatial variables and has passed its trend of formation and evolution or decline. As the architecture of Shiraz’s mosques finds their way at the very preliminary sanctuary pattern, different from many Iranian mosques, the paper tries to investigate the order and organization of it in the interaction with different and influential subsystems by focusing on the main body of this architecture, i.e. the sanctuary. Accordingly, the major question is how the sanctuary in historical mosques of Shiraz is organized and ordered. For this purpose, through studying the number, location, and proportion of the sanctuaries.  In every mosque, their order and organization can be analyzed. The results of this research contribute to recognizing the architecture of Shiraz’s historical mosques and the strategies of architects’ designs in the face of various issues. It can also be proposed to make some of these fixed principles applicable and perpetuate it in the architecture of contemporary mosques especially Shiraz’s mosques. The research method used in this study has been of descriptive-analytical as well as field study type. Data collection method has been of library and field observation type and use of sketches and maps. To this end, twenty-four historical mosques of Shiraz have been investigated. Considering Shiraz’s mosques, through studying three main parameters which have remained constant over time, the system of sanctuary organization has been examined. The most important parameter in the architecture of mosques is the direction of Qibla. It is followed by the site plan, based on which and through investigation of the policy of the designer in face of the two mentioned variables, the way it affects the variable of geometrical system and the proportions used in the sanctuary  locating in the architecture of mosques has been investigated. Therefore, first the literature review is presented. Then, having analyzed and investigated the mosques, eventually two types of sanctuaries organization within the architecture of mosques are recognized, for which Vakil and Nasir Almolk mosques are introduced as the examples of these two types.

However, in the investigation of the organization of sanctuary in Shiraz’s mosques, it is found that the organization is heavily influenced by two subsystems including cultural (the Qibla direction and no use of dome) and environmental (the ground shape and the neighborhoods) subsystems. At the end, with the centrality of the architect in the design policy, two distinctive organizations have been developed.

A key point evident in the studied issues imply precedence of following a certain system of proportions in the design and location of the sanctuaries of mosques, where the yard enjoys suitable proportions. Indeed, the sanctuary organization is highly related to the proportions of the yard, where in both types, there exists a dependence of the sanctuary organization on the proportions of yard suggesting the specific influence of the skeletal subsystem, i.e. the significance of proportions in the design.

Design, in the first step is initiated by determining the direction of Qibla and plotting the largest rectangle along with the Qibla direction. The other side of the yard is determined in proportion with the allocation of space to the sanctuary. In the next step, given the elongation of the plotted rectangle and its proportion with the Qibla direction, two states are developed. If the mosque elongation is along with the Qibla direction, the sanctuary is organized in the southern side, and in 65% of cases, with approximate proportions of one to two (the sanctuary depth to the yard ratio). 

However, of the yard elongation is vertical in relation with the Qiblah direction, then according the fact that the entire width of the plotted rectangle would be allocated to the yard, the mosque would lack southern sanctuary and the sanctuaries would be located at the east or west or both.

However, in similar cases (such as the Imam Mosque in Isfahan or Naein Mosque or even mosques such as Damascus Mosque) the priority is to locate the sanctuary at the south side, but this is different in the organization of sanctuaries in Shiraz’s mosques in the light of priorities including the yard proportions or existence of a number of limitations (access, the ground dimensions, etc.).  

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In Islamic architecture, especially in mosque, the main consideration is to the prayer spirit. For this reason, Quran inscriptions cover the most parts of the decorations of architecture. Altars are always one of the elements with full of motifs decoration because of dignity and its position. The decorations are including Quranic verses and themes. Mosque decorations inscriptions are a main source to investigation the views and religious thoughts. Identifying the Quranic Inscriptions of stucco Ilkhanid alters and understanding their contents are the aims of this paper. Totally, decorative inscriptions of Altars are divided to four groups date, signature (name of the architect and artist. Etc.), supplements and endowments, religious phrases (names of God, the Quran verses, Hadith, name of the prophet and Imams). The present study focuses on the themes of Quranic verses and the contents of them that used in Ilkhanid stucco altars. Altar Stucco decorations consist mainly of arabesque motifs, geometric and inscriptions. One of the visual characteristics of Ilkhanid stucco altars is “decorative inscriptions” that widely have been performed in different styles and forms at the altars, so far the inscriptions become the basic elements of altar decorations in the Ilkhanid Altars, the Oljayto altar and the Jame-bastam altar are perfect examples that their design have been formed on inscription style. Perhaps the importance of calligraphy in the seventh and eighth centuries AH, or a plurality of skillful calligraphers- such as Yaghout Mosta`sami- caused further manifestation of calligraphy and extension of Quranic inscriptions in decoration of buildings. Earlier Kufic script has been used in decorating architecture at fourth century, Moreover Kufi script, other inscription styles such as “Sols”, “Reqa`e” and “Solse-mos`als`al” as well as ‘B`anaiee’ and ‘M`agheli’ in content of religious phrases become popular in stucco decoration at Ilkhanid era.

 In this study, some investigations were done with using descriptive-analytical method, to achieve content of Quranic verses and their relations to the place application. The results of twenty-one altars indicate that one to four suras of Quran used in an altar, for example the Jame-Save mosque and the Jame-Bastam Mosque contain four different suras, meanwhile, just the Oljayto altar have no “Quranic” inscriptions! Ilkhanid altars consist of twenty-one different verse from suras that the first verses of “Mo`menoun”, 1 to 4 verses of “D`ahr”, 1 to 4 verses of “Fat`h”, 255 vers of “Baghare”, 18 to 19 verses of “Tobeh”, and sura “Fateha” completely, were the most used. Content of the altar inscriptions are grouped in few categories “Tohidi verses”, “prays”, “characteristic of the believers”, “describe the characteristics of mosque authors”, “Muslim victory over enemies”. Sometimes the inscriptions are used beside each other and referring to essence of Allah, worshiping, and Allah praying. The contents of some verses are the oneness of God and the worship of God, as well as the other verses reveal “characterization of believers” that specify the qualities of ways and the path of believers. Praying is also one of the first characteristics of the Muslims in Tohidi verses and also is specified rules of the pray conduct, in order to guide believers on a direction and builds up a unity of Muslims with the aim of achieving victory and pride.

In addition to the above, some features are stated to those build the mosques because the mosque is the sacred in Islam and everyone does not deserve to enter in this way. Generally, verses of the “Tohidi”, “prays”, and “authors of mosques” had the most usage. Hence, the content of altar Quranic inscriptions is related to the application place and their dignity in the mosque, to lead up the prayer spirit and richness up the people.

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Mosque is one of the most important Muslims' buildings and one of the best expressions of Islamic community (Ummah). In spite of considerable architectural history of the mosque in Islam and Iran, it seems that there are significant questions about the ideal mosque in Islam. For example "open space" (or courtyard), regarding its undeniable importance according to Islamic tradition (Sirrah & Sunnah) and architectural history of the mosque, has being weakened. The open space in mosque which not only improves the quality of architecture but also worshiping within has a special significance. Neglecting this importance has led to gradually reducing or even eliminating the open space in the mosques. In this regard, a combined style was choose to examine the originality of open space, using historical interpretation and content analysis methods about the main references of Islam (the Quran, Hadith and life of Prophet (PBUH)). Therefore, the original mosques of centers of Islamic territory from the beginning of Islam to the sixteenth century and also mosques without open space were reviewed. Then Masjid an-Nabawi considering the approach of the Prophet (PBUH) about its architecture and Masjid al-haram were added to the analysis.

Despite of common categorizing of mosques based on closed spaces, the masjid An-Nabawi which had been built by supervising of the last Prophet (PBUH) hadn’t any closed space. Considering the hard climatic requirements, available roof construction technics and user requests (based on historical texts), prophet's decision to not making a hard roof is a major reason of priority of open space in mosque. Masjid al-haram as an ancient religious Islamic site and one of the most symbolic aspects of Islam has always been in open space and even hadn’t had roof itself during thousands years.

 There are also many prayers and Islamic rites which should be - or is better to - done under sky, especially not personal ones like Hajj, Fitr Salah, Qorban Salah. This could be remarked as a presentation of public aspect of worship in Islam in contrary of the isolation in some other religions (e.g. Christianity, Judaism and Buddhism). It is more impressive by attention to mosque's major function: daily congregational prayer (Salaat Al-Jamaah). Also there is some Islamic advises about not making roofed mosque. The important point about these sentences is removing any obligation about building mosques with or without roof which could cause many difficulties. But it doesn’t mean there is a neutral viewpoint. Advises is showing the priority of open space to closed spaces.

Regarding the pattern of masjid An-Nabawi, open space is always noticeable part of architectural history of mosque, especially in major mosques of main centers of Islamic territory during more than fourteen hundreds years. It could be more significant by attention to their various climatic, cultural, architectural, historical, technical differences in a vast geography and long time period. It could be led us to re-categorize mosques not only based on closed space but also caring open space changes. There are also many evidences showing mosque yards as a place for saying prayer and worship.

The most opposite point of the importance of open space in mosques are some mosques without open space. These mosques which are totally closed space might be referenced as contravention to open space based mosques. In analyzing these samples two points must be considered: first is the flexibility of Islamic sentences especially in form design and Islamic accommodation with local properties. Second is capacity of these mosques to be referenced via masjid An-Nabawi. However by studding about these samples we could categorizing them in three: first are very little mosques which usually are consist of one or two rooms and direct access from outdoor in which preparing open space isn’t possible. These are neighborhood chapels that could be developing into mosques in future. Second are large mosques that are transformed from churches or other religion's temples e.g. Hagia Sophia & Al-Aghsa. These types usually conserve their structural and architectural specifications but there are examples which open space had been attached to them e.g. Yazd-Khast and Jame-Neireez. Third are special ones which had been built for specific purposes or particular condition such as Sheikh-Lotf-Allah mosque. These ones couldn’t be referenced as major movement in mosque design.

By analyzing these evidences, it is obvious that open space shouldn’t be neglected or reduced to a division junction and light-supplying space. It is a heritage and beyond; one of the major parts of mosque. Imagining the closed space as main space of worships in mosque can cause many problems such as costly construction, time-consuming build programs, circulation and space access difficulties, ventilation and light-gaining challenges and isolation effects on users.

As result, the collected evidences show not only open space in the mosque is a section or basic part of mosque, but also open space has originality in the mosque design and the worship within is a forgotten aspect of this fundamental part.

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"Art Style" means the way of expressing the ideas, conscious or unconscious thoughts and emotions of the artist in his/her work. Social, political, economic and cultural conditions in any society has an essential role in the emergence and promotion of art styles. The changes in these conditions, will cause changes in artistic styles. In the Persian literary history, Persian poetry styles have divided into the styles of Khorasani, Iraqi, Isfahani (Hindi) and literary return period style. The styles of Iranian architecture in the Islamic era that are embodied in the construction of mosques are Khorasani, Razi, Azari and Esfahani styles. In both areas, for each of the styles, according to its historical period, we can suppose some minor styles, which these minor styles will help to more accurate evaluation.

This research tries to answer this question that "whether the specific social and cultural conditions in a historical period have had similar effects on the styles of Persian poetry and the architecture of Iranian mosques or not"; if so, "what do these similarities signify?" Moreover, can any elements be found that they be repeatable in all styles and in all eras, and if so, how can these common elements be interpreted? The importance of this issue is that, inevitably, we have to review and evaluate all aspects of our culture fields, to know our cultural identity, correctly. It is a crucial requirement of our culture that, to know that "whether the various cultural manifestations are separate Islands and apart islands from each other, that have not any relationship with each other, or a unique same sun gives life and warmth to all of them", But as far as the writer is aware, any independent research has not been done on this issue, yet. This research, which is based on descriptive analysis, at first, has explored the architectural styles of mosques and then it has studied the styles of Persian poetry. And the next step is to compare the styles of architecture and poetry, respectively.

To explain the social and cultural transformations and its impact on the development of artistic styles, among various opinions, Pytryn Alexander Sorokin comments - Russian descent sociologist, residing in America- is more eloquent. The article, in the next step, has explored socio-cultural developments and its role in the genesis of artistic styles.

The current study with comparing the stylistic of Persian poetry characteristics and mosques architecture, concludes that, poetry and architecture styles, have had profound similarities in every historical period. So that Khorasani style in architecture can be taken into account corresponding to Khorasani style in poetry; Razi style can be associated with style Seljuk period-style, and also Azeri style with Iraqi style and  Esfahani architecture with poetry Esfahani style (Hindi) were associated. These cultural similarities are due to common spirit in the different aspects of society. These common spirit, has two dimensions: 1. the temporal dimension (Zeitgeist= spirit of the age): This dimension in each period according to the requirements of the same period (Special conditions of social, economic, political and cultural), causes the emergence of similarity between the artistic styles, But because it is temporal, it also Contains differences with the pre and post periods. 2. Atemporality dimension (spirit of the Nation): This dimension contains some repeating elements that at different periods and in various artistic styles, have a constant presence, without being under the effect of external factors, or without attributing to a particular style. These repeating elements, will Make a single configuration that is "spirit of the nation" of Iran. This unit spirit of culture, like an invisible string, will collect reproduced Works in the field of thought and culture under a unit flag. This flag, is our 'cultural identity'. Perception of the spirit of "Iranian culture"  which has deep spiritual richness in companionship with "Islamic culture", only is achieved when, with insight and enlightenment, we remove the curtain from the face of spiritual and cultural heritage, to percept the unique truth that lies on its backend.

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The golden ratio has been claimed to have held a special fascination for at least 2,400 years. Some of the greatest mathematical minds of all ages, from Pythagoras and Euclidian ancient Greece, through the medieval Italian mathematician Leonardo of Pisa and the Renaissance astronomer Johannes Kepler, to present-day scientific figures such as Oxford physicist Roger Penrose, have spent endless hours over this simple ratio and its properties. But the fascination with the Golden Ratio is not confined just to mathematicians. Biologists, artists, musicians, historians, architects, psychologists, and even mystics have pondered and debated the basis of its ubiquity and appeal. In fact, it is probably fair to say that the Golden Ratio has inspired thinkers of all disciplines like no other number in the history of mathematics. The Parthenon›s facade as well as elements of its facade and elsewhere are said by some to be circumscribed by golden rectangles. A 2004 geometrical analysis of earlier research into the Great Mosque of Kirvan reveals a consistent application of the golden ratio throughout the design, according to Mazouz. They found ratios close to the golden ratio in the overall proportion of the plan and in the dimensioning of the prayer space, the court, and the minaret.

Golden Ratio and Geometry,plays an important role inIranian traditionalarchitecture (I.T.A) and it is very serious in bases of construction.In a recent book, author Jason Elliot speculated that the golden ratio was used by the designers of the Naqsh-e Jahan Square and the adjacent Lotfollah mosque.In Traditional proportion knowledge, «Beauty» is not an individual style and verve, and it has geometric rules and methods.Hence, proportional theories created.»Iranian golden Rectangle» and «Gaz and Module» are two main important design ratiotheories in I.T.A.

Many experts expected two above ratios have been used in buildings design by traditional Iranian architects. Testing these two theories in several historic houses of Qajar era in Shiraz city is the aim of present study.

Gaz and module means the unitratios which areused in length measurement. Babylonia and Assyria were invented these measurement units (1Babylonia Gaz=0.53m), which used by Iranian later butby doublingtheamount of it (1 Iranian Gaz=1.06m).

Measurements repeated for width and lengths for all three categories, as repeated. Length and width of spaces calculated in Gaz unit and the compared to Gaz (and its quarter fractional too). Considering the test results data leading to refuse or accept the theory,the difference data with the smallest difference possible is calculated.

Iranian golden Rectangle means the length to width ratio of a rectangle surrounded by a Regular Hexagon, which is not more than three possible ratios (1.73,1.15, and 2.31)depended on the type of architecture space.to perform the study, spaces are divided by three main categories as below:

1- Ccentralcourtyard

2- Five-door rooms

3- Three-door rooms

Analyzing the geometries and spaces results the ratios as below:

1- The Aspect ratio of Central Courtyardis 1.73.

2-The Aspect ratio of Five-door rooms is Apex. 1.73

3- The Aspect ratio of Three-door rooms is 1.15.

Sample selection is done randomly with the proviso that the selection sample is in the Qajar era, and indicator such a shaving historical valueand Also include disa selection from different neighborhoods of old shiraz.

The exact dimensions were recorded and statistical data prepared and analyzed using Spss software. The normality of data was checked by the Kolmogorov-Smirnov test. Accordingly, data was converted to a normal distribution by using a Box-Cox and subsequently t-test was used to test hypotheses. The ratio of coefficient of variation was also used to compare the “Gaz and Module” theory and the “Iranian golden Rectangle” theory. However, architects have been tried to follow the “Gaz and Module” theory for designing important houses spaces, but The results of the study shows architecture of Shiraz historical houses, gotvery closed to»Gaz and Module» theory and not exactly, especially in Qajar period. However, «Gaz and module» theory is not so much accurate, but it can be accepted to study the Qajar era architecture by it.

Considering the actual situation and the plan of the Shiraz historical houses, the authors concluded that deviation from the “Gaz and Module” theory can be explained according to the type of separation and division of lands in other words architects could not get the exact ratios why the land division plans were oblique in many cases. This research and analyze is also done by poor ahmadi and Partners for traditional Yazd houses. They also concluded «Iranian golden Rectangle» is rejected in Yazd houses. Therefore,its advised to expand the analyzes of «Iranian golden Rectangle» theory for other Iranian traditional cities.

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Vernacular architecture is the product of the interaction between local residents and the nature in geographical area which results in unique achievements in providing physical, mental and intellectual needs of human. Vernacular architecture of Bushehr has provided considerable strategies in accordance with the micro ecosystem in its multilayers cultural link. Understanding these strategies can provide ideas for applying in architectural design. One of the ideas was formed intimation  in the hot and humid climate of this city. This principle was very important in some architectural places like Girls› schools. Having contact to the outdoor area, especially for the girl students, who have a low contact because of living in apartment, is very effective in terms of physical, mental and intellectual growth. Therefore, intimation, through increasing the feeling of belonging to the environment, can improve the satisfaction level of girl students to the school which finally improve their creativity. Intimation of schools is considered as providing conditions through architecture and regulations, so that girl students can study in open, semi-open, semi-closed and closed areas of the school more freely and in accordance to the Islamic dress code. This has been considered in the document of fundamental transformation of education and here it has been emphasized on the observance of intimation sentences in the considered area. The purpose of this study is to show the manner of intimating in the schools of Bushehr regarding to the four psychological, cultural, religious, and educational needs. So this study, with emphasizing on intimation in vernacular architecture of Bushehr, and achieving cultural strategies of intimation in climatic architecture of Bushehr, proposes this question: How intimation is manifested in the vernacular architecture of the city of Bushehr? The main strategy for answering this question is a qualitative investigation which has been used for developing the framework of the research; for collecting data it has been used from literature studies, scientific databases and observation methods, and, qualitative analysis has been used for analyzing the data.
Findings of this study shows that intimation in the vernacular architecture of Bushehr has been provided in three scales of micro, middle and macro scales. Intimation in micro-scale refers to the single elements of the building in the vernacular architecture of Bushehr which has been manifested either in the internal aspect (internal space) or in the external aspect (space); these elements in the vernacular architecture of Bushehr include «Shanashir», «Tarmeh», «roof and pre-roof», «sashes and openings», «Parasol», «shelter balcony» and «windows». Each of these elements, in addition to their main function, has been applied in design, components, and connections so that they help for making intimation of internal spaces. Intimation in the middle scale refers to the plan typology and combining of the mass and the space; this study shows that, based on the combination of mass and space (the building and the yard) in the vernacular architecture of Bushehr, and regarding to the position of the building to the historic walls of the city, and also regarding to the introvert and extrovert aspects, two main kinds of floor plan arrangements can be identified: the first kind is the buildings enclosing courtyard: introvert-extrovert (within the historical walls of the city); the second one is building without courtyard including row building(s) inside the yard: extrovert (outside the historical walls of the city). In the macro-scale, forming intimation in the vernacular architecture of Bushehr was affected by the location of the building which has considered the opportunities, threats, strength and weakness points of the building regarding creating intimation; this factor has been considered in terms of adjacency. In another words, based on the neighborhood, it has been determined that at the first stage which plan arrangements including extrovert-introvert and extrovert types, and also which plan types including courtyard, or row buildings, or combination of them, should be applied, and in the second stage, the manner of combining the mass and the space has been determined.
Furthermore, the methods of applying the strategies of intimation in the vernacular architecture of Bushehr have been provided in three scales of micro, middle and macro. It seems that updating the historical patterns, which has been considered and proposed in text and image through this study, can be a proper and referable model for planners and architects of schools, especially of city of Bushehr. Therefore, it is suggested that planners of education spaces on the one hand, and architects on the other hand, through studying considered patterns in this study, to create multi-functions and flexible spaces in accordance with climate desirability to provide refreshing and productive spaces for the education of the next generation of the country in accordance with the Islamic-Iranian patterns, in addition to rehabilitate and to continue historical patterns. Achievements obtained through this study can be a good ground for the next researches with the purpose of extracting intimation patterns of schools in other areas, especially with similar climate to Bushehr. It is hoped that a comprehensive guide for creating intimate schools will be provided.